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With the new series of Red Dwarf at last about to hit our TV screens, you'll notice that 
here at the Smegazine we've spared no expense in attaching a set of wild and crazy 
slogan stickers to our front cover in a cynical bid to see our sales soar ever higher. 
From the handy all-purpose 'Boys from the Dwarf' to the anorak -attachable 'Duane 
Dibbley', there's a sticker for all the family in this particular collection. Even the 
original Holly has got in on the act, as has Kryten's Spare Head 3 (remember him - 
Kryten's straight-talking droid-rot infected spare head who appeared in the Series 4 
episode DNA7), promoting the good old-fashioned qualities of robo-cak! Spare Head 3 
fans will be pleased to learn that he is due for an appearance in one of our original 
comic strips very soon. 

As for this issue's comic strips, Home of Lost Causes picks up on the crew of 
Starbug sometime during Series 6 and the search for Red Dwarf appears to be over at 
last... or is it? There's also the much-requested return of Sac* to Reality's Kryten 
alter-ego, Jake Bullet, in The Case of the Cop's Comedown. All this, plus interviews 
with Grant Naylor, Norman Lovett, Deep Space Nine/Red Dwarf USA's Terry Farrell and 
Head Gunman of the Apocalypse Denis Lill make this month's Smeg worth every 
penny-cent and then some. Oh, and there's even the unique opportunity to win a day 
and a night out with the Cat himself - Danny John-Jules is up for grabs in a fabulous 
prize competition (but no, you don't get to keep him afterwards!) 

Mike Butcher 








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The new series of Red Dwarf hits 
BBC2 at 9pm on Thursday October 
7th. Its 200 years after the events 
of Red Dwarf V and the crew have 
fallen on hard times. Red Dwarf has 
been stolen and they are stranded 
on board Starbug trying to catch up 
with it. They begin the chase in the 
first episode, Psirens, which also 
guest stars film actress Jenny 
Agutter, former Eastender Anita 
Oobson and C.P. Grogan as Lister's 
one time love. Kochanski. The dates 
for your diary are: 
9pm Thursday 7th October: Psirens 
9pm Thursday 14th October: Legion 
9pm Thursday 21st October 
Gunmen of the Apocalypse 
9pm Thursday 28th October: 
Emohawk - Polymorph II 
9pm Thursday 4th November: 

9pm Thursday 11th November: 
Out of Time 

These dates are provisionally 
confirmed and are still at the whim 
of the BBC schedulers (although 
they'd better not change, else 
there'll be trouble!) 


Danny John-Jules has just finished 
making an exciting video to go with 
his new single. Tongue Tied. The 
record itself will be available in the 
shops from October 1 1th. The '8' 
side features Danny's new recording 
of the Red Dwarf theme. The 12" 
and CD single also have a bunch of 
other mixes: The Kateoke Mix, the 
Tabby Ranks Mix, the Meow Mix, 
9* ftissy Mix, the Purrfect Mix, the 
*»ws Mix and an instrumental (wot 
no cat pun?) Four of these are on 
«w 12* and seven are on the CD. 
arts one of the mixes on the 12" 
w"t on the CD. 

The Mdeo for Tongue Tied is very 
a-'vem to the dance routine seen 
■■m The song originally appeared 
*» ** second series of Red Dwarf. 
t s Sased around Cat's relationship 

with Kit, a female version of Cat 
played by model Vanessa Morris. 
Danny appears in several Cat 

his original Tongue Tied costume. 
There's also a very funny sequence 
when he becomes Duane Dibbley 
and performs a dance routine with 
Craig Charles (Lister), Robert 
Llewellyn (Kryten) and Elvis Presley 
(in reality Clayton Mark who 
appeared in the episode Meltdown) 
It's hoped programmes like The 
Chart Show will be showing it, so 
keep your eyes peeled. 
But even if you miss it on the small 
screen, the video's being released 
on sell -through with some 
tantalising extras. The Tabby Ranks 
mix has a video of its own starring 
Tabby Ranks himself, played by 
Danny John-Jules. A documentary 
film crew have recorded some 
behind-the-scenes footage and 
interviews with Danny, Craig, 
Robert and Clayton (Elvis) in which 
they talk about Tongue Tied and 
Red Dwarf. All this should combine 
to make a tape about half an hour 
long which will be sold in the shops. 

More exploits of the Red Dwarf 
crew will be revealed in the new 
novel by Grant Naylor, The last 
Human. It should be in the shops 
on the 28th of October (put back 
just a couple of weeks because it 
was still being written!) It'll cost 
£4.99 for a handy read-it-in-the- 
bath-size paperback. 


The men responsible for casting the 
crew of Red Dwarf three million 
years adrift in deep space, Rob 
Grant and Doug Naylor, will be 
signing copies of their new novel on 
its release. The plan as the 
Smegazine goes to press is for them 
to spend three days at various 
venues around the country meeting 
fans and signing The Last Human. 
locally for 
days and 

complaints after we reported in 
this column that they were giving 
away an exclusive freebie with the 
second Red Dwarf 1 video. 
Unfortunately, the freebie never 
happened, but we didn't know 
this until after we had gone to 
press with issue 4. Consequently, 
more than 300 people wanted to 
know what the smeg was going 
on and who knows how many 
thousands more were somewhat 
confused, but didn't like to say. 


That's right, Robert Llewellyn 
reveals all in a new video by those 
rubber people, Spitting Image. 
It's called Having It Off: A Bonkers 
Guide and has Robert appearing 
with the infamous puppets and 
talking about sex. Other 
comedians involved are Jo Brand 
and Mark Thomas. The video, 
which has been produced by the 
Director of Red Dwarf VI, Andy De 
Emmoney, has never been seen on 
the telly. It'sout on October 11th 
at £12.99, carries an 18 certificate 
and lasts 63 minutes (catalogue 
number VC6347). It will have no 
exclusive freebies with it wherever 
you might like to buy it - which, 
all in all, is probably a very good 



poor old 
who were 



Writers and creators of Red 
Dwarf, Rob Grant and Doug 
Naylor, are pursuing the idea of 
making a Red Dwarf film. As we 
reported earlier this year in News 
from the Dwarf, there is an open 
invitation from film-makers 
Universal to go to America to 
make the movie, but Grant Naylor 
would much rather make a British 
film with the original British cast. 
However, there's no film deal at 
the moment, so it could be years 
before the cameras start rolling. 


Also out this month is a book 
from Cwig Charles. He looks at 
everything from the World's most 
embarrassing stories to why the 

big bang theory is drivel, using his 
own streetwise humour in The 
Craig Charles Almanac of Total 
Knowledge. It's out on the very 
popular date of October 28th at 
£6.99 from publishers Boxtree. 


One of the ideas floating around 
for next year is a Red Dwarf quiz 
book to come from publishers 
Penguin. But that won't be until 
the Autumn. 

Penguin have also confirmed that 
The Making of fled Dwarf VI by 
Joe Nazzaro won't come out until 
March next year. That's about the 
same time as Robert (Kryten) 
Llewellyn's The Man in the Rubber 
Mask is due out. 


Sadly, Kryten won't be modelling 
for page three, but a model of 
Kryten is now available. He's a 
plastic do-it-yourself kit in five 
parts. Dunk him in hot water and 
he's pliable. Just bend him into 
the desired position (stop giggling 
at the back), dunk him in cold 
water and he's set in that 
position. Look out for the advert 
elsewhere in this issue which will 
tell you how to get hold of him 
(settle down now, please...) 


Lister, Rimmer, Kryten, Cat 
Starbug and the Red Dwarf logo 
should be available as enamel 
badges from the end of this 
month. You can buy them as a 
whole set or individually at 
between £1.99 and £3.99 each. 
Pin Point who've also produced 
Thunderbirds and Star Trek 
badges, supply to over 1000 places 
in the country, so they should be 
available at a shop near you. It's 
thought a couple may be released 
this month, with the rest to follow 
in November. 

Oh, and while we're on the 
subject of small but beautiful Red 
Dwarf goodies, don't miss next 
month's Smegazine which comes 
complete with a Starbug key- ring. 
At £0.00 on top of the normal 
price of your favourite monthly 
mag, it promises to be the best- 
value piece of Red Dwarf 
merchandise around! 



Shock reports have just come in that the King of Rock 'n' Roll has 
been seen somewhere in West Acton reading the Red Dwarf 
Smegazine! "It's a thumping good read," the pelvis-swivelling 
songster was heard saying, shortly before hurrying back to the chip 
shop where he works three nights a week, plus all day Saturday. 

But how does Elvis make sure that he never misses an issue of the 
wackiest, wickedest telefantasy mag this side of a fur-lined anorak? 
He subscribes, of course. As he says: "Why should I wear out my 
blue suede shoes by walking to the corner shop every month when 
I can have the Smegazine delivered directly to my door?" 

And how right he is! He saves a few bob, too... 


UK - £18 1 
Europe, USA & Canada airmail - £30 

Other overseas airmail - £50 * 

Cheques and postal orders should be made out to 
Fleetway Editions Ltd in pounds sterling and sent 
to the following address: 

Red Dwarf Subscriptions * 


PRE Complex f 

Pallion Industrial Estate 
Sunderland SR4 6SN 

Credit card orders are 
accepted on 091 510 2290 

Make sure you tell them which issue of the RED DWARF 

SMEGAZINE you would like your annual subscription to start 

with. Oh, and don't forget to mention that Elvis sent you! 

uos JAycee WAU-* RZuhC> HAPPiy&&& ? 14HU !TLA£TT HNP CZtT Kl&tfr AP7G& THS&e S*ie&-7Aff7^ n*&&&. _ 





One of Danny John-Jules's many personal on the upcoming 
video to accompany the single of Tongue Tied, of course* He 
has even given his name to one of the mixes of the song - here's 
the full list of mixes to look out for on the various formats... 
T and cassette single: (a) Tongue Tied; (b) Red Dwarf Theme 
12" single: (a) 1. Tongue Tied (Meeow Mix), 2. Tongue Tied; (b) 
1. Tongue Tied (Tabby Ranks Mix), 2. Tongue Tied (Kateoke Mix) 
CD single: 1. Tongue Tied, 2. Tongue Tied (Kateoke Mix), 
3. Tongue Tied {Tabby Ranks Mix), 4. Tongue Tied (Meeow Mix), 
5. Tongue Tied (Paws Mix), 6. Tongue Tied (Pussy Mix), 
7- Tongue Tied (Instrumental). 

1st Prize: 

A day out for 2 with 

Danny John-Jules 

PLUS - a set of Red 

Dwarf 1 videos, a 

Red Dwarf Omnibus 

(signed by Rob Grant 

and Doug Naylor), a 

Duane Dibbley T-shirt, 

a Red Dwarf Talking 

Book and a complete 

set of the Red Dwarf 


2 Runners-up 

All the above, apart 
from Danny himself! 

Danny John-Jules's new single is about to hit the shops 
and to celebrate the fact, the Red Dwarf Smegazine has 
linked up with EMI to launch the most smeg-tastic Red 
Dwarf competition of all time - not only can you win a 
whole pile of fabulous Red Dwarf goodies, but you can 
actually win a fantastic day out for yourself and a friend 
with the Cat himself... Danny John-Jules! 

To enter the competition, you will need to answer two 
very musical Red Dwarf general knowledge questions, 
the first of which is: 

What was the name of the pop band 
Dave Lister used to be a member of? 

The second question can be found on the sleeve of 
Danny's Tongue Tied single. You also have to collect 
both of the special TABBY TOKENS before you send in 
your entry - token number two is on this page, but 
token number one is on or with the single. 

When you've got both tokens and the answers to both 
questions, put everything into an envelope with your 
name, address and a daytime 
telephone number and send it to: 


Red Dwarf Smegazine 

Fleetway Editions 

25-31 Tavistock Place 

London WC1H 9SU 

(Closing date: 14th December 1993) 




Our examination of Red Dwarf's inaugural series concludes with a double helping of Rimmer.. 

When Red Dwarf first went into the 
studios at BBC Manchester, Me 2 
didn't exist at all. It was 
originally planned that Confidence and 
Paranoia would be the last episode, but 
after a BBC strike disrupted production, 
the writers suggested a new story to finish 
off the series. They discarded one of the 
middle episodes, which was about Rimmer 
trying to steal bits of Lister to build a new 
body for himself, and wrote Me 2 . 

In Me 2 , Rimmer thinks he's found his 
ideal friend - himself ! His second 
hologram, created at the end of the fifth 
episode, joins the first Rimmer hologram 
and they get on like a house on fire. They 
move out of Lister's quarters and set up 
home in the bunk room next door. 
Writers Rob Grant and Doug Naylor liked 
this new script much better, but Producer 
Paul Jackson took one look at it and knew 
it would be difficult to film. 

"When we handed the script in, Paul, i 
remember, went spare," says Rob Grant. 
"He said, 'look, you can only have two 
scenes with him playing against himself 
and we said, 'we can't do the story with 
just two scenes'. He said, 'look, how are 
you supposed to play this in front of the 
audience?' We didn't much care at the 
time, but I think we cut out a couple of 
the scenes with him together and got it 
down to three... I think, for instance, 
when we had the first scene when they 
were loading up Rimmer's things into 
boxes, both the Rimmers were in that 

originally so we had to get rid of one of 
them, and he just popped his head in at 
the end or something." 

Rimmer is of course delighted to be 
able to live with his ideal companion. The 
other Rimmer has all the same interests, 
the same goals and understands him. 
However, each Rimmer wants to be that 
bit better than his partner. When the two 
Rimmers exercise in their quarters, they 
scorn each other if one stops while the 
other is still leaping up and down. 

The sequence was filmed using split 
screen, so Chris Barrie had to exercise in 
one half of the screen as Rimmer, then run 
round the other side and do it all over 
again: "It was quite exhausting," says 
Chris, "but I'd rehearsed it thoroughly and 
Ed [Bye, the Director) knew what the 
cameras were doing, and we executed 
that scene really quickly." 

"This is certainly one of Chris's great 
strengths," comments Rob Grant. "I think 
he plays against those split screen things 
very very well; he's got a great sense of 
timing when it comes to that. He does all 
kind of neat little tricks, like he does 
interplay between himself, and then goes 
and does it on the other side." 

Chris explains it was all done by the 
clever use of monitors: "I think they put a 
monitor up around the cameras so 1 could 
see basically what I was doing. So for the 
dialogue my eye-line was with the 
monitor there, so we did him first, sprang 
up and down, then me again. I watched it 

recently and I was quite impressed with 
the way it all worked. It was a joy to see it 
all come off." 

"I do think when they're both 
exercising it's very funny," comments 
Doug Naylor. 

"Very hard to do," adds Rob. "And 

"It's really bad news 

sometimes, suffering 

for the special effects." 

Chris, who was in great condition really, 
was absolutely jiggered after eight takes 
of that." 

But Craig Charles describes living with 
two Rimmers as "Hell!" Playing Lister 
meant he had to appear in several scenes 
with both Rimmers, but that's quite 
difficult when you can only see one of 
them. "There's one scene when you can 
actually see me leaning to get within the 
edge of camera so the other Rimmer can 
come in," says Craig. "I'm leaning and 
looking one way all the time, but I should 
have been moving my head between the 
conversations. And I did that, moved my 
head between the conversations on one 
take, but as with all technical stuff. I got 
to the edge of frame at one stage, so they 
used the take where I wasn't. It's really 
bad news sometimes, suffering for the 
special effects. Performances sometimes 
go out of the 
window because the 
special effect worked 
in one scene and, 
beca use t h ey ' r e so 
complicated and 
difficult, you go with 
the special effect." 

For Rimmer, the 
novelty of living with 
himself soon wears 
off. He begins to be 
irritated by his own 
habits and niggling 
foibles. They start to 
row and the first 
Rimmer moves back 
in with Lister. 

But the row 
continues later when 
the second Rimmer 

joins his other self in the cinema. He looks 
around at the rows of empty seats and 
decides to sit directly in front of the first 
Rimmer. The first Rimmer, who now can't 
see the cartoon, gets up and sits in the 
seat directly in front of the other Rimmer. 
The two Rimmers continue doing this until 
they run out of seats. 

"It's just what two petty-minded guys 
would do to one another," explains Doug. 
"It's just so childish and so, so hard to 
shoot. And we had all sorts of problems 
with things like cinema seats because you 
could say a hologram hovers just minutely 
above a chair, but then how do you get a 
cinema seat down?" 

The cartoon they are watching in the 
cinema is Mugs Murphy. This was to be 
Lister's favourite cartoon character and it 
was made especially for the show, even 
though it is only glimpsed in the episode. 
Originally, Mugs Murphy was going to 
become a semi-regular in Red Dwarf, "We 
thought if we could get a decent cartoon 
character it would be interesting for 
maybe he comes to life or something in 
the future," explains Rob. "We didn't 
want to use any contemporary stuff, we 
didn't want to use Wilma Flintstone and 
that kind of thing; we wanted to create 
our own icons. We didn't want to be 
using Marilyn Monroe, we wanted to be 
using Chelsea Brown • who you've never 
seen - and things like that. But in the end, 
sometimes you've just got to have that 
shorthand of using something people 

The cinema scene is where Lister finally 
decides he has had enough of Rimmer 
arguing with himself and that one of them 
has to go. This gives Lister the chance to 
find out the truth about Gazpacho Soup. 

'Gazpacho Soup' were Rimmer's last 
words, recorded for posterity in his death 
video. When Lister discovers the video 

"The idea of the 

episode was to make 

the audience feel 

sorry for Rimmer." 

tape among Rimmer's things, he cannot 
resist watching it. It shows Rimmer's death 
among the final moments of the crew as 
they are wiped out by a lethal radiation 
leak. The explosion was created by Peter 
Wragg's special effects team, but they 
were squeezed for time and it wasn't as 
spectacular as it might have been. "Effects 
sequences tend to be a bit more 
complicated, I mean they can use up 
time," explains Peter. "Obviously what 
directors want to do is try and get all the 
other stuff done first, but invariably time 
eats away at the other things and you've 
90c fwe minutes left to do the effects 
sequences m, or something like that. I 
agree, t wasn't particularly spectacular, it 
•aswrtwtwecould achieve there and 


* waw of Cadmium II explodes over 
•ummer. and as he is thrown backwards by 
the Wast, he gasps Gazpacho Soup'. "It 

was an air mortar and we had 
Chris iBarrie] on a jerk wire," 
says Peter Wragg. "5o we 
jerked Chris back at the same 
time as we fired a load of 
glitter and dust out of the air 

While the original hologram I 
Rimmer is in the Drive Room, 
waiting for to be turned off. 
Lister asks him about his last 
words. Rimmer confesses to 
Lister that the greatest night 
of his life was being invited to 


the Captain's table where he was served 
Gazpacho Soup. But he committed the 
ultimate social gaffe by telling the waiter 
to take away the soup (which is supposed 
to be served cold) and bring it back hot. 

The idea for this came from a real life 
experience. "It actually happened to us, I 
think," says Rob. "We were working at 
Thames TV very early on, and we went in 
the Thames board room and they brought 
the soup in and it was cold. Something in 
the back of my head said 'oh, there's this 
soup that you're supposed to have cold, 
and this is supposed to be if. I remember 
clocking it then. I didn't actually send it 

Rimmer puts his whole dead-end career 
and dead-end life down to that one 
moment which made the Captain regard 
him as a fool. "The idea of that episode 
was to make the audience feel sorry for 
Rimmer, " explains Doug. "It was the start 
really of us beginning to give him three 
dimensions. The idea was there was this 
key incident in his life that really really 
screwed him up." 

"And in the end it wasn't really 
anything, because he's screwed up 
himself," adds Rob. 

Rob Grant and Doug Naylor see Me 2 as 
one of the successes of the first series. 
They were able to approach the episode 
afresh, having already seen the earlier 
ones in rehearsal; it gives an 
unprecedented depth to Rimmer's 
character, and it's a strong idea. 

"It's one of my favourite shows," says 
Rob. "I think the story sort of goes a bit in 
the middle, but the idea I think's great - 

&*" M 

would you get on with yourself, if you met 

"I also do think it's an interesting idea," 
agrees Doug. "It's not about 'would you 
get on with yourself?' It's 'you wouldn't 
get on with yourself, because you have all 
the same irritating habits that when you 
perceive them, when you're able to look at 
yourself, you'd be appalled. Because you'd 
think 'I'm so much better than that, am I 
really that small-minded, that petty, that 
idiotic?' - especially writ-large with 
Rimmer. One of the key scenes was 'what 
time shall we get up in the morning?' and 
where they constantly top one another so 
it'll be earlier and earlier and earlier, so 
they would hardly be going to bed." 

Me 2 ends with the other Rimmer being 
turned off, leaving the Rimmer who has 
confessed all to Lister, still aboard Red 
Dwarf as the first series came to an end. 
But it wasn't the end of Red Dwarf, the 
BBC commissioned a second series even 
before the first was transmitted. 

Overall, the first series of Red Dwarf is 
set to become more popular now with the 
release of the videos than it was at the 
time. With hindsight, some things didn't 
work too well, some of the storylines are a 
bit weak compared to later episodes, and 
the grey cardboard sets are a particular 
complaint of Rob Grant and Doug Naylor. 
Yet there's no denying it's funny, there are 
some unmissible moments, and it shaped 
the way the series developed. 

"The choice we made at the beginning 
was a brave choice and sometimes we 
forget it," says Doug. "The choice is we 
could have gone for big star actors, and 
with big star actors they would have said 
'we're not doing it in this stupid grey set' 
and that would have given voice to that 
whole complaint. It would have been 
fixed and much better, a far far better 
series, but probably they wouldn't have 
been around for series two or series three. 

"And casting it the way we did, we 
knew... I mean in Craig's case he was 21, 
hardly just been born! Obviously, there's 
going to be lots of things he's going to 
learn and Chris had never really done a 
sustained character, but because of that 
they've all kind of grown up together on 
Red Dwarf and now we've reaped the 
benefits of it. It's probably now been far 
more successful than it would-have been if 
we'd have cast it with the big star-name 
actors that we could have done." 



ALIEN SUPERFIEND Judge Death has seized control of THE COMPLETE JUDGE DREDD! 

The dimension-jumping 

the top value title just as 
the latest sizzling edition, 
ISSUE 21, was being sent 
to the presses. 
The mighty murderous 
MONSTER forced staff to 
replace a law-abiding 
Judge Dredd cover with 
this CHILLING portrait by 
Dean Ormston (see left)! 


The cold-blooded KILLER 
also demanded that a 
'ghossstly' GLOW IN THE 

DARK sticker showing 
Judge Death's badge of 
terror be given away free 

with the promoted issue! 

It is believed JUDGE 
DEATH seized control of 
this issue because it 
represents the start of 
the classic Judge Dredd 
adventure, JUDGE DEATH 
LIVES!, featuring Brian 
Bolland's best artwork. 
LIESSS. all liesss!' was 
the killer's only comment 
when questioned. 



issue goes on sale from 
September 25, priced at 
just £1 for 68 pages! 




When Red Dwarf V ended its 
first run in March '92, few 
people expected such a long 
delay before the screening of 
Red Dwarf VI. There are two reasons for 
the postponement: 1. Rob Grant and 
Doug Naylor's work schedule - it would 
be an understatement to call it hectic - 
meant that filming took place a few 
months later than usual, allowing for a 
Spring '93 showing at the earliest; and 2. 
BBC2's reluctance to broadcast one of its 
most popular programmes in an off peak 
season caused them to hold back the 
series until the Autumn when it will 
potentially reach a far larger audience. 
It's been quite a long wait, but - as Chris 
Howarth and Steve Lyons found out 
when they spoke to the show's creators, 
Rob Grant and Doug Naylor - it will have 
been well worth it... 

When Red Dwarf VI finally blasts its way 
back onto our television screens on 
October 7th there will be a number of 
changes in evidence, foremost among 
these will be the absence of Red Dwarf 
itself. "The problem with Red Dwarf was 
that you felt they were very 'hands off' in 
terms of running the ship and you didn't 
have supply problems to speak of, and so 
their everyday 
life was very 
mundane," Rob 
Grant explains, 
justifying the 
omission of the 
spaceship. "It 
■ :=. more how to 
<M them than how to survive, which is 
much more interesting. In Series 6 they 
are actually in serious trouble all the time 
and there are serious food shortages, it's 
much better." 

A consequence of losing Red Dwarf has 
been the loss of one of the series' regular 
characters - namely Holly, the ship's 
en-abc computer - but, as Rob reveals, 
there was much more to the decision to 
drop the character. "A lot of fans said we 
should get off the pot and poop over 
Holly; she kind of hung around in the 
fifth senes and we never really got 
around to exploiting her. In Series 6, 
they've all got their roles, the Cat drives 
and Lister. " Rob pauses to think for a 
moment, "... has his assigned tasks." 

One character who has benefited from 
Holly's absence is the Cat. "We felt that 
the two characters were suffering 
because the balance wasn't right and we 

Craig was very up 
that he was the 01 
human being and 

■asn't qettinq lai 

made a conscious effort to make 
more of the Cat," Rob continues. 
"I feel that the part of Holly has 
been split between the Cat and 
Kryten in that the Cat gets the 
dumb end of the stuff and Kryten 
gets the hi-tech end." 

"Also, Danny was a big fan of 
just doing a line and getting out," 
Doug Naylor elaborates, "and, in 
that Cat way, didn't want to 
become involved and become a 
member of the team. We didn't 
want to go down that road this 
time, we want to have him 
properly involved where he 
doesn't just come in, do the one 
line and get out. I think 
because of that it's helped 

As previously reported in the 
Smegazine, Red Dwarf Vi sees 
the reappearance of one of 
the most popular characters 
ever to appear in the series, as 
Danny John-Jules once again 
dons his anorak to become 
Duane Dibbley. 

"I adore him," Rob admits. 
"It was one of our intentions 
at the start of writing Series 
6 to have the 
Cat encounter 
some kind of space 
problem where he 
becomes his 
alter-ego Duane 
Dibbley in times 
of stress and trouble, so they 
were all trying to keep him 
calm so that Duane wouldn't 
go around screwing things up 
- pulling the steering wheel 
off things. But we found it 
got in the way of stories. We 
were desperate to bring 
Duane back, and we finally 
found a way." The good 
news is that this is not 
necessarily the last we've 
seen of the feline's uncool 
persona. "I would still like 
the Cat to drift into 
Duane," says Rob. 

Duane Dibbley is not the 
only old face to make an 
appearance in Series 6. 
A tare pair of photographs indeed, 
as Bob Grant (top) and Doug Naylor 
are pictured here separately during 
the making of Red Dwarf W 

C. P. Grogan also returns as Lister's true 

love Kristine Kochanski in the series 

opener Psirens. Of course, anyone who 

couldn't resist the temptation to read 

that episode's script in Primordial Soup 

(the Red Dwarf script book that was 

released way back in April!) will 

already know the circumstances of said 

return, but how many of you spotted 

the in-joke reference to the ill-fated 

American pilot episode? (Ah, the 

sweet sound of a freshly unzipped 

anorak - 1 love it!) 

The use of old 

characters and 

enemies has long 

been a favourite 

among the makers 

of TV science 


programmes, as 

any fan of Doctor 

Who will testify, 

but what prompted 

Rob and Doug to 

follow this particular trend? 

"It's something I like in Star Trek: the 
Next Gen when they refer to old stories 
and bring characters back," explains 
Rob. "As a fan I like that stuff, but as a 
writer you feel like it's shorthand and 
it's cheating because you're not 
thinking of a new idea. But having 
said that, the characters do come 
through different routes and they're 
not quite the same. And we've sort of 
packed all the sequel stuff into one 
show, into Emohawk, where the 
Polymorph comes back." 

Arguably, Rob and Doug created a 
rod for their own backs when they 
created a universe devoid of alien life. 
Not surprisingly, as a consequence. Red 
Dwarf VI not only sees the Starbug 
crew up against more Genetically 
Engineered Life Forms in the 
aforementioned Psirens and Emohawk, 
but the episodes Gunmen of the 
Apocalypse and Rimmer 
World feature the latest 
in a long line of Simulants 
to pose a problem or two 
for the guys. 

The episodes of the 
series run into each other 
along the lines of a serial 
- the quest for Red Dwarf 
obviously being the prime 
linking factor. "We've 
always avoided that in 
the past," admits Doug 
Naylor, "because it meant 
that you had to choose 
the order of the shows 
before you recorded 
them. You'd never know 
what your best show was 
and you want to start 
with your best, but - 
because we nearly always 
choose the wrong show 
first • we thought that 
the worst thing that 
could happen is that the 
worst one goes out. And 
the reaction to Holoship 
was that that was 

It's always been 

a bit of a bone of 

contention that 

Rimmer was a cowarc 

even though he was 



certainly the case, so we thought 'oh, 
what the hell, we'll just go for it'." 

Some reviewers of Red Dwarf V were 
of the opinion that the dramatic 
elements had been increased at the 
expense of the comedy, however what 
we've seen of series 6 suggests that the 
balance has been restored. Doug 
Naylor agrees: "We made a definite 
decision because of series 5 - not 
because we didn't like it, but because it 
was more of a drama-based series. 
Certainly, the 
reaction to 6 so 
far has been very 
good in terms of 
people thinking 
it's the funniest 
series. True or 
not, time will 


Rob is less 
modest on the 
subject. "I 
certainly think 
it's the funniest series," he asserts. One 
thing both Rob and Doug are 
extremely pleased about are the special 
effects in the new series. "They've 
taken a quantum leap," enthuses Rob, 
inadvertantly plugging yet another US 
telefantasy series. 

"The model shots are better than 
ever," adds Doug. "They've used a 
new camera for a start, but also we've 
done a lot of Starbug shots on blue 
screen; you're then able to lay Starbug 
over the other shots. It's a 
combination of Peter Wragg, obviously 
doing the model shots again, and 
Graeme Hutchings making them up 
with the blue matte stuff, and so with 
the real fire and gas geysers and 
everything else, the model shots are 

"The starfields are much better as 
well, we've got coloured nebulae," Rob 
interrupts, so we may never know just 

how good Doug thinks the model shots 

The Cat's increased involvement in 
the proceedings was mentioned earlier, 
but he isn't the only character to 
undergo a degree of development. 
The changes to Rimmer are quite 
substantial - literally - as the hologram 
acquires a solid body. The body is 
introduced in the episode Legion to 
enable Rimmer to take part in a meal 
using revolving anti-matter chopsticks, 
and the intention thereafter was to 
have him switch back and forth 
between his soft and hard light forms - 
the latter being a bigger drain on 
Starbug's power supply. But, as Doug 
discovered: "You had a whole new 
area for Rimmer to go in - we found 
hard light more fun." Rimmer can now 
taste and feel. "It's the pain that's 
quite interesting," says Doug, "he can 
be hurt." 

Rob too believes the new version of 
Rimmer to bean improvement. "We 
felt that it helped the cowardly side of 
his nature if the danger he was in was 
more physical," he explains. "It's 
always been a bit of a bone of 
contention that he was a coward even 
though he was basically 

Lister, of course, remains the same 
curry-eating slob he always was, but 
according to Rob Grant, Craig Charles 
was not entirely happy with the status 
quo: "In series 5, Chris got oiled and 
got to go to bed with Jane Horrocks 
and Craig was very upset that he was 
the only human being and he wasn't 
getting laid" 

"He said 'I haven't even got a snog'!" 
adds Doug. 

As you'll discover, Craig gets three 
snogs in the new series and also gets 
married (again), but he almost got 
more than he bargained for. "We 
were actually toying with the idea of 

BHOW OPPOSITE The Boys iromtnt 

writing an episode where they find a 
culture that's trapped in Cyberspace; 
they go in to speak to them and two 
of the Cyberspace inhabitants come 
out and kidnap Lister and Rimmer's 
bodies," says Rob. 

Doug takes up the story; "We were 
trying to organise it so you'd have a 
man and a woman who are lovers in 
their bodies and there'd be a big snog 
scene between Chris and Craig. We 
were gonna say to Craig 'hey, you 
wanted snogs'." 

Sadly, it was decided that this 
particular story wouldn't work. "I 
think Chris would have cut his lips off 
first," shrugs Rob. 

At the time Series 6 was being 
filmed, rumours were circulating 
about the BBC requesting a seventh 
episode or even a Christmas special, 
but this was never the case. What the 
BBC did want however, was a 
documentary based on the making of 
the series. Unfortunately, for a 
number of reasons, the programme 
was never made - although it has only 
been postponed not cancelled. 

To prepare you for the imminent 
Broadcast of Red Dwarf VI and to 
wtwt your appetites that bit further, 
irere is a run down of the six episodes 
about to hit our screens: 


As rf to compensate for the absence 
erf HoJry, the series opener features a 
bevy of 'lovely ladies' including C. P. 
G-ogan, Jenny Agutter and Anita 
Oobsoo {as Captain Tau - this is the In- 
jofce to do with Red Dwarf USA, by 
ti>e way. Tau is the name of the 
Captam in the American pilot). The 
ere** awake after some 2O0.years in 
suspended animation to face the 
Psirens, deadly creatures who lure 
innocent space-farers to their deaths 
with a lethal combination of 
telepathic manipulation and scanty 


Supplies on Starbug are low. The 

Starbug in space 
Dwarf prepare to take on the Gunmen of the Apocalypse' 

water has been recycled so many 
times, it's beginning to taste like 
Dutch lager. Docking at a disused 
space station to re-supply, the crew 
come face to face with Legion (Nigel 
Williams), a mysterious genius with 
phenomenal powers. Will he join 
them in their quest, or does he have 
some sinister purpose of his own? 


Some of the episode was filmed in the 
replica Wild West town of Laredo. So, 
you may ask, what is a Western town 
doing in the depths of space? Well, 
who said it is? Denis Lill plays the 
main badguy as a drunken sheriff 
Kryten prepares for a showdown with 
those metaphorical desperados, the 
Apocalypse Boys. Jennifer Calvert also 
appears as Loretta. 


When they crash land in a zone 
inhabited by Genetically Engineered 
Life Forms, the crew are forced to 
trade for replacement engine parts 
with the fearsome and stomach- 
churningly ugly Kinatowi. But the 
tribe are interested in only one trade: 
Lister must marry the chief's 


When the crew are trapped aboard a 
ship on the brink of disintegration, 
Rimmer abandons his crewmates in a 
weasley attempt to save his own 
worthless hide, and leaps into the 
only remaining escape pod, blissfully 
unaware that he won't see another 
human face for the next 600 years... 


The crew of the Starbug encounter a 
rather unlovely bunch of space 
travellers - themselves fifteen years 
into the future. When they receive an 
SOS cali from their counterparts, they 
must decide whether they should go 
to their aid and risk discovering their 
destinies. Or are some things best left 



With the release date for the third Red 
Dwarf book. The Last Human, fast 
approaching, Steve Lyons and Chris 
Howarth also took their opportunity to 
ask writers Rob Grant and Doug Naylor 
how things were going... 

"Actually," Rob confesses, "If s hard to say because, of all 
the genres, a novel is the one you really have to plan and 
you really have to know where you're going. It's hard 
keeping a thirty-minute episode in your head, never mind 
a whole novel... well, I find it hard! So it's the planning 
stage which is the hardest; you teel like you're doing no 
work at ail when you're planning, but it is the hardest 

Although most of that planning has obviously been 
done now, the guys don't want to give away much of the 
plotline of their latest epic just yet. "We might tell you 
we're going to put something in and then we cut it." 
explains Doug. "A week before we handed in the proofs 
for the first novel. Thanks for the Memory was in it," Rob 
adds, "and it all got cut " 

One of the first jobs for the writers is to pick up the plot 
threads left hanging at the end of the second novel, 
Better Than Life. As Rob explains, however: "Our aim is 
that people can pick up the third book and still enjoy it 
without really missing anything. Obviously, there are 
always going to be people who've read them all, but the 
idea is to try and make it as self-contained as possible." 

Those people who have read the story so far will recall 
that an aged Dave Lister has been left living a bizarre 
reverse life on an other-dimensional, backwards-running 
earth, where he is shortly to be partnered by the newly 
resurrected Kristine Kochanski. The third book, according 
to Doug, "does actually start the day after". So, would it 
be too much, we wonder, if we asked for a hint as lo 
whether Kochanski would be sticking around for any 
length of time? Actually: "It would, yes!" confirms Doug. 
with a laugh. 

As the continuity of the novels drifts further and further 
away from that of the TV show, it seems less and less 
likely that Rob and Doug would be able to use any ideas 
from the show at all. "It's about a 60-40 mix of new stuff 
to old," says Doug - in fact, roughly the same sort of ratio 
that was apparent both in Better Than Life and in Infinity 
Welcomes Careful Drivers. "When we first started out." 
Rob explains, "we wondered if people would get really 
angry that they weren't just getting transcripts of the TV 
shows in sequence. But we thought, well, that's not what 
we're interested in doing anyway." Obviously, they made 
the right choice, as evidenced by the international best- 
selling status of the first two novels. 

So how do they decide which episodes to adapt? 
There are always ideas that though we really try to cram 
them into half an hour, they're really worth a lot more." 
says Rob. 'Better Than Life particularly, and that kind of 
thing - so when we're thinking of TV ideas now. naturally 
novel ideas come up as well, and in the novel we'll do one 
thing, but for the TV show we'll do a more 
straightforward, cheaper version," 

The new book should be hitting the shelves at the end 
of October; Penguin are obviously rushing it straight into 
the shops to tie in with the television screening of Series 
6. Perhaps the best news for many people is that we 
poorer fans will not be left hanging on for a paperback for 
a year, as with Better Than Life. Although Penguin do 
plan again to publish both hardback and paperback 
versions of The Last Human, these will be released 


Dear Smeggies, 

Congratulations on the superb 
new look Smegazine ■ much, much 
better I love Jane Killick's 
dissection of the first RD series, 
Lister the God and, of course, 
News from the Dwarf. And thanks 
for having so much coverage of 
Red Dwarf VI - it looks set to be 
the slickest series of all. 
My main question is - considering 
that Red Dwarf I is now out on 
video (and is somehow even better 
than when it was first on TV) and 
that RD VI is due on TV soon, do 
you plan to hold another excellent 
Readers Survey? I'm sure the 
results would be very different this 

lames Roberts, Guernsey. 

We certainly do, lames. The Red 
Dwarf Smega-Survey is coming... 
and we'll be asking you about 
everything Red Dwarfish, with 
questions covering not just the 6 
series, but also the 
novels, the Smegazine 
and all the other 
merchandise spawned by 
the show. 

Dear (insert witty RD 
euphemism here), 
G'day from Australia. 
Enclosed is a picture of 
my son at 5 hours old, 
after looking through 
'Infinity Welcomes 
Careful Drivers' he has 
decided to have a kip. 
His name is David 
Marwede (naturally 
named after your hero 
and mine). Okay, so I admit the 
photo has been staged, but young 
David has been a fan since 
constantly listening to my endless 
viewings of the show whilst he 
was 'In Utero'. Now, I would like- 
e beat that - who 

else other than a mad Australian 
would take a camera into a 
maternity wing to take a photo of 
his son with a book for a 
magazine. Deserves a prize I 
reckon. At least for cockiness. 
Thomas Marwede, 
Bundoora, Australia. 

5 hours old. eh? The youngest Red 
Dwarf fan? Sounds unbeatable to 
me, but what do I know - 1 
thought we'd finished with this 
little competition a while ago As 
for a prize, well I reckon that living 
in Australia you're already doing 
pretty well, Thomas. I mean, we 
give you Red Dwarl to watch and 
you give us Neighbours, Prisoner 
Cell Block H, Home and Away, 
Young Doctors... the list goes on. 
What do you want ■ blood? 


Dear Holly, 

Some sm egg res may be wondering 
which member of the studio 
audience at Psirens lent Andy Bull 
[the warm-up juggler!] 'a 
homemade Mr Flibble'. Well, it 
was me! Andy made some 
comments about Mr Flibble which 
rather embarrassed me when he 
was showered with bits of apple 
because Andy was talking while 
eating and juggling an apple at 
the same time. This led Andy to 
say 'Mr Flibble says he's been sticky 
before!' You can buy Mr Flibbles, 
so I won't take the credit for him. 
He was made by the Cat low sisters 
(the 3 Bears). For more info, join 
the fan club!! 

Cover me in maple syrup and send 
Chris Barrie round, 
Lisa Hawkins A.C.E., Hadfield. 

And you were embarrassed about 
Mr flibble getting sticky, eh, Lisa? 
Just in case anyone's feeling a little 
confused at this point I should 
explain that Kev F Sutherland 
referred to this incident in his 
report on the filming of Psirens a 
few issues back He didn't manage 

to identify the mysterious Mr 
Flibble supplier. Well, now he 

Dear sir, 

Thank you for the invitation at the 
top of page 39 in Vol. 2 No.3 of 
the Red Dwarf "Smegazine" ("ugh!) 
re: The Great Red Dwarf Debate, 
but I never write to fan magazines 
on any subject whatsoever. Apart 
from this, Mr Steve Lyons said 
everything there was to say 
anyway in his 'Old Defence'. 
In addition. The Junior 
Encyclopedia of Space' was 
phrased incorrectly • Rob and 
Doug may have invented the term 
"smeggies", but the implication 
that they invented the term "smeg 
head" is guile wrong. That 
endearing phrase and variations 
such as "smeg face" and "smeg 
sandwiches" have buzzed around 
since the 1970s and were probably 
dredged out of some grammar 

school kid's dictionary and 
into his gob via the usual 
vulgar teenage lad's 

Eric Critchley B.Ed., 

Form by. 

All right, Eric, if you never 
write to fan magazines, 
then just what was that 
iumble of words above - 
your shopping list? 
Anyway, onto the 
derivation of "smeg head", 
you may well be right, but 
the fact remains that Rob 
Grant and Doug Naylor 
claim that the term was 
'invented' independently by them 
in all innocence as a generic term 
of abuse for their TV show Now. 
whether you believe them or not is 
up to you I 

Dear RDS, 

Please excuse me if I am the 100th 
person to write in and tell you this, 
but did you know that it would 
appear that Peter David ■ in his 
Star Trek: The Next Generation 
book 'Imzadi' - pays a little tribute 
to Red Dwarf?? If you look to 
page 52, line 13, you will witness 
the phrase: "to learn how to play 
the smegging thing". It may be 
that I have lead a sheltered life, 
but I think it's the first time I have 
seen "smegging" uttered outside 
the realms of Red Dwarf. It's 
certainly the first time I have seen 
it in a ST: TNG novel and I have 
read almost all of them. What do 
you think? 
Louise Montague, Grimsby. 

Peter might have got the word 
from a 1 970s grammar school 
according to Eric Critchley's letter 
above, but no., he is in fact a big 

Red Dwarf fan. I met Peter David 
at a G/asgow comic convention last 
year, Louise, and he was very keen 
to have his name added to the Red 
Dwarf Smegazine mailing list. Sol 
think it's safe to say that he was 
paying his little tribute to the 
show here, especially since I 
happen to know that he has also 
included two characters called 
Rimmer and Lister in cameo roles 
in a comic he used to write called 

Dear Holly-Grams, 
I just had to send you this picture 
of our son P. J. who is 2. As they 
say - like father, like son! Our son 
is an adamant fan of yours and we 
do not go a day without watching 
one episode of yours from our 
videos. This picture was taken on 
holiday - as we couldn't watch the 
videos, he had to settle for reading 
your magazine! 
Louise Crawford, Portsmouth. 

By now you'll have realised that 
P. J. has been beaten to the title of 
'Youngest Red Dwarf Fan' due to 
the marginally contrived efforts of 
Thomas Marwede and his antics 
with a camera and a Red Dwarf 

somewhere <r 


I think I can safely award the title 
of 'Youngest Red Dwarf fan 
Toilet' to P. J., an honour you and 
he can be justly proud of '! 

l he 


Red Dwarf Smegazine 
Fleetway Editions 

25-31 Tavistock Place 
London WC1H9SU 



The Guest Stars of Red Du/arf VI 



Denis Lill is a familiar name to many 
television viewers; over the past 
twenty years or so he has appeared in 
a multitude of series, from Btackadder 
to Doctor Who to Mapp and Lucia. In 
Red Dwarf VI he meets up with the 
Boys from the Dwarf, playing the play 
of a crazed simulant who pits them 
against the computer-generated 
'Gunmen of the Apocalypse'. The 
Smegazine's Steve Lyons and Chris 
Howarth met up with him near his 
home in the beautiful countryside of 
Somerset to discuss the role that 
resulted in his being dubbed 'Denis the 
Menace' by Craig Charles! 

"It was a dual role," Denis explains. 
"This bionic warrior and his mates had 
been created for a war that never took 
place, and although a lot of us had 
been created, most had been recalled 
and destroyed - except for us! We 
spend our time cruising the universe 
looking for people worthy of our 
mettle, and we infect the Starbug 
computer with a virus called the 
'Armageddon Virus', so all their 
navigational systems close down. The 
only way they can get rid of it is for 
Kryten to actually cast it out, and the 
rest of them plug into Kryten so they 
can share his dreams. They end up in a 
Wild West town, where they find 
themselves confronted by the 
Apocalypse Gang, of which I'm the 

last couple of days 

being a corpse by 

a river bank. 

tn tno second persona, Denis plays a 
Wild Western version of Death, riding 
■mo battle on a horse and spitting 
tobacco (actually chewed licorice) 
between lines. These sequences were 
filmed on location, in Laredo... "which 
is a little Western street, constructed in 
a field, and rt was absolutely magic." 
For Denis, it was this whole aspect of 

the role which appealed to him. "I 
can't think of anything I would like to 
do as much as a Western," he enthuses. 
"As a kid, during the fifties ■ I was born 
and brought up in New Zealand - 1 was 
going off to the local flea-pit to see 
whatever was showing and, nine times 
out of ten, they were Westerns. I can 
remember people like Roy Rogers and 
Gene Autrey, but they never satisfied 

my own sort of personal ideals as far as 
cowboys were concerned. Then, when 
I came over here, I saw Clint Eastwood, 
and I thought 'that's what it should all 
be like'l" 

Denis is no stranger either to the 
telefantasy genre. "I've done a couple 
of episodes of Doctor Who, which I'm 
constantly being phoned up about 
because they're being released on 

video at the moment. The first one I 
did was called Image of the Fendahl. 
Tom Baker was the Doctor in that and I 
played a mad scientist who'd conjured 
up some sort of nameless demon from 
the deep, and eventually fell victim to 
it. In the second one. The Awakening, I 
played this nutter called Sir George 
Hutchinson, who leapt round in 
Royalist uniform on a horse. I also did 
a series called The Survivors for the 
BBC, which was actually quite exciting 
at the time, we got terribly excited by 
the sheer potential of the idea. I 
played a Welsh guy and after that I was 

anything I would 
like to do as much 

offered Welsh speaking parts, I got 
scripts in Welsh all the time." 

The Survivors was a mid-seventies 
fantasy series, the creation of Terry 
Nation, who was also the man behind 
Blake's 7 and the Daleks. Denis recalls; 
"When the Head of Series, a chap 
called Rodney Marsh, was first given 
the idea, he said 'No, no, it's awfully 
depressing! Ninety percent of the 
world's population wiped out by dread 
diseases? It's too depressing, but I 
suppose we can go with it, you just 
can't have any studio time.' So the first 
series was shot partly in the studio and 
parly on location, and the second and 
third were all shot out on location. We 
sort of pioneered OB techniques, we 
used to lay out miles of cables over 
fields, stuff like that. And we got up 
early in the morning, we climbed on a 
horse and we went to work." Denis 
laughs and adds his opinion that such a 
routine constitutes: "The correct way 
to earn a living! 

"I think we were all a bit 
disapointed with the way it went, 
though. They were employing 
different writers for virtually every 
episode and each writer would have his 
own little bandwagon to push out. As 
a regular, you found you were just 
acting as a feed to the guest stars - 
though one or two episodes did 
feature storylines which concentrated 
on the regulars, which was good. 
There was one about rabies I 
remember, which was particularly 
exciting. It involved chases on 
horseback and shooting and... well, it 
was a Western really." 

As with Doctor Who, the early 
episodes of The Survivors are now 
available on video, so Denis has had a 
considerable amount of exposure 
recently. "Really, it's just journalists 
phoning up and asking me about the 
history behind it - you know, what was 
it like working with Tom Baker and 
how did we feel about the idea behind 
The Survivors; were we excited by the 
prospect of it? And frankly, at the 
time, we weren't at all worried about 

that sort of thing. It was just another 
job and we just went ahead and did 

Perhaps Denis's best known 
character is a far more recent one - 
that of Alan, Rodney Trotter's father- 
in-law in the tremendously popular 
comedy series. Only Fools and Horses. 
"I get more recognition out of just one 
appearance in Fools and Horses than I 
ever did before - just because most 
people watch it, I suppose. When I first 
moved down here [to Somerset] I used 
to wander into my local pub without 
any sort of recognition whatsoever; 
they just knew me as Denis, nobody 
ever asked what I did or anything like 
that. The Fools and Horses came out 
and suddenly they realised who I was 
and what I did. I'm glad to say It 
doesn't make to much difference to 
them." Denis doesn't know if he'll be 
asked to return to his role in Only Fools 
and Horses, however. "I don't know 
whether it's coming back at all," he 
admits. "John Sullivan has gone off to 
produce fresh Fields and David Jason is 
certainly very busy, so I don't think he'll 
come back for another series, but what 
they may do is just trot out the odd 
Christmas special from time to time. 

Whether I'll feature ir 
know, but I'll be 
very interested to 
see what happens 
with the little boy, 

In any case, 
Denis's time is 
about to be 
occupied by his 
latest comedy role 
in none other than | 
Rob Grant and 
Doug Naylor's new | 
series The W%ers. 
"I just got a call 
from my agent to 
say that Rob and 
Doug were looking I 
for someone to 
play the part of 
the chauffeur, 
Murray. They were I 
holding auditions, 
so I went along, 
read for them, and | 
then was recalled 
to read again with 
various people 
who were going to I 
be playing 
opposite me. And I 
got it, I'm glad to 
say." The W%ers 
first aired as the 
premier show in 
Carlton TV's 
Comedy Playhouse 
slot, although a 
full series has now 

commissioned and 
will begin filming 
in January. Denis 
and the rest of the 
cast were always 

r not I don 

quite sure that the format would be 
successful. "It was very positive, the 
whole feeling. It became even more 
positive at the press viewing; they 
showed the whole of The 10%er$ and 
little excerpts from about four of the 
others, and some of the others were 
really pretty dire. But it took an awful 
long time for them to make up their 
minds!" Denis hasn't heard too much 
about the forthcoming series yet... "I 
presume Rob and Doug have locked 
themselves away somewhere frantically 
scribbling," he guesses, "because 
they've got a Red Dwarf book to get 
out as well, haven't they?" 

It was at The 10%ers press showing 
that Denis's Red Dwarf role was first 
mooted. "I collared Rob and Doug 
during the showing and they just 
happened to let drop that they were 
doing a Western episode for Red 
Dwarf. I said I would kill to do a 
Western, so that was it!" At the time, 
Denis had never even seen the show, 
although he is now quite familiar with 
it after viewing the recent series 5 
repeats. "When I knew I was doing an 
episode of it, I thought I'd better find 
out what it's all about. Of course I'm 
hooked now, I think it's absolutely 

Coming into a long-running series 
like Red Dwarf, with an established 
posse of actors, must be quite odd for 
a guest star, though. "It's a bit strange 
in a way, but I do know how it feels 
from working in other things like 
that," confirms Denis. "You feel like 
you're intruding in this well 
established family. I mean, they work 
so closely together these guys, they've 
got such a good banter going between 
them - it's a bit difficult to sort of 
muscle in on that. But then, when one 
is established as a running character in 
a series and you get people coming in 
doing bits, you know exactly how they 
feel. I always go out of my way to say 
'hi, my name's Denis Lill, welcome 
aboard' and it does make a difference. 
And they were very nice and very 
welcoming on Red Dwarf." 
. Having had a fair mix of regular 
roles and guest appearances, Denis can 
see advantages and disadvantages to 
both. "Obviously, if you're a regular in 
a series, it's regular employment and 
regular money and regular exposure, 
but with a guest appearance, usually 
the character is rather well written. 
They can be slightly off-the-wall 
characters, so you've got something 
really strong to go for that may not 
necessarily be possible to maintain for 
a full series." 

He does admit to a preference for 
television work over theatre. "I prefer 
the hours, I prefer the money and also 
■f I'm going to live in Somerset, I have 
to say to myself, well it's virtually 
■WDOBHc tc logistically to work in 
theatre, because the travelling would 
be enormous! The money's not all that 
good wt the theatre anyway, and after 
a few weeks I get bored. You're stuck 
in a rut for nine months or a year, 
trotting out the same performance 
night after night after night, and it can 
get pretty damn boring realfy. So now 
i concert-aTe : television and maybe 

the odd movie that pops up from time 
to time." 

Denis has been working more or less 
exclusively in TV for something like ten 
years now. Prior to that, he spent 
some time in the National Theatre. "It 
was while I was doing an episode of 
Crossroads of all things, that I got the 
word I was to audition for Olivier at 
the National Theatre. Having 
recovered from shining myself at the 
thought of actually auditioning for 
Olivier, I did it and got it and stayed 
there for about eighteen months." 

Acting, however, was not his first 
career, "I was in the Air Force for 
seven years in New Zealand and it was 
while I was there that I started doing 
amateur dramatics. I then left the Air 
Force, discharged on the grounds of 
being psychologically incompatible 
with the service - I'm proud to say! - 
and became an actor. I toured New 

We got up early in 

the morning, climbed 

on a horse and 

we went to work... 
The correct way 
to earn a living! 

Zealand with a quartet of players and 
made enough money doing voice-overs 
for radio plays and things like that." 
Then, in 1967, Denis decided to return 
to his parents' country of origin. "I 
went from New Zealand to sixties 
London - it was just incredible, but I 
took to it like a duck to water. My first 
job over here was as an ASM (Assistant 
Stage Manager), which is one of the 
lower forms of theatrical life, at the 
Pheonix Theatre in Leicester, Two of 
the actors were sacked during the 
course of my stay there, so they 

needed an actor fast. I had my Equity 
card by then and I knew the lines and 
the moves, so I was sort of upgraded 
from ASM to actor." To re-use an old 
cliche, Denis has never looked back 

And looking forward? "Well, at the 
moment I'm doing Inspector Alleyn for 
the BBC and I've spent the last couple 
of days being a corpse by a river bank. 
Then I'm doing a new comedy series 
called Outside Edge for Central. I'm 
playing a character called Dennis, who 
seems to spend most of his time trying 
to look up ladies' skirts. I've told 
everybody that if they catch me trying 
to look up their wives' skirts, I'm 
practising! And then, hopefully, my 
agent will find me something to fill in 
the gap until I start The 10%ers." 

In general, Denis certainly has a 
preference for quality comedy. "I like 
the funny stuff very much," he insists. 
"It's much more rewarding to work in, 
as long as it's well written." And 
Denis's busy career has left him with 
little time to dwell on any outstanding 
ambitions. "Well, apart from the 
ambition to play in a big feature 
Western!" he smiles, "I don't mind 
really, I mean as a jobbing actor, you 
just go for things. I haven't really 
dared to hold out any ambitions - 
certainly in the present climate - but, 
hopefully sometime, someone will say 
'Denis Lill's a good comedy man, we'll 
give him his own series' - that'd be 
nice. We'll just have to wait and see." 

Denis would be more happy to 
make a return to Red Dwarf if the 
opportunity arose, however he admits 
that he'd far rather reprise his cowboy 
Death role than its simulant other half. 
"I'd like them to revisit Laredo," he 
declares, "and if they wrote one that 
was feature length, that'd be even 
better! The trouble is, they [the 
writers) are so limited by these half 
hour episodes - but they're very clever, 
the way they get around it." 

Gunmen of the Apocalypse 
represents a unique landmark in Red 
Dwarf history, as it forms part one of 
what turns out to be a two-part story 
(of a fashion). The simulant ship 
makes a return appearance the 
following week in Rimmer World. 
Contrary to reports in certain fan 
magazines, Denis does not feature in 
the second episode, although one of 
his simulant colleagues does (played by 
Liz Hickling, one of Denis's co-stars in 
The 10%ers). "They go back to the 
spaceship to get food, I think, and they 
find she's still alive, still desperately 
blasting away at everybody." Still, if 
the episode's tumultuous reception 
from fans at the Dimension Jump '93 
convention in Manchester is anything 
to go by, we wouldn't be too surprised 
if a proper sequel to Gunmen of the 
Apocalypse materialised in Red Dwarf 




rin j] 



'J 'liMtJ f MMftffifilM* 




in issue 4 of the Red Dwarf 
gazine, D. Allott asked what 
lened to the picture of Rimmer 
ie toilet as painted by Kryten 
e episode of the same name. 
', some of you didn't believe 
;new where it was, so here's 

n the safe hands of Red 

': Can you tell me which episode of 
kxtor Who the Manet first appeared 
i, and who played the Doctor st the 
me? (Malcolm Paters. Nottingham) 
Easy-peasyt I think I'm going to let 

ive you the full answer... JonPertwee 
sok over as the Third Doctor in 1 970 
nd, after his first year in the hot seat, 
roducer Barry Letts and Script Editor 
er ranee Dicks decided they needed a 
rofessor Moriarty to fight against the 
loctor's Sherlock Holmes. So, for Terror 
I the Autons, Robert Holmes wrote the 
laster in for what would be the first of 
lany appearances. The late Roger 
lelgado played him in that debut story, 
swell as The Mind of Evil, The Claws of 
Diets, Colony in Space, The Daemons, 
he Sea Devils, The Time Monster and 
rontier In Space. After Del g ado's 
ntimely death in a car crash, it seemed 
s though the character was gone for 
ood, but he returned, played by Peter 
ratt under tons of make-up, in The 
leadly Assassin. Towards the end of 
om Baker's years on the programme, 
roducer John Nathan-Turner decided 
o bring the Doctor's nemesis back, with 
leofrey Beevers (similarly made-up) 
laying htm In The Keeper of Traken. at 
sast until the end of that story when 
inthony Am ley . 

1 in a spaceship 

bending puzzles to get from room to 

catch the shuttle home. The place was 
run by several dragons (who took on 
human forms so they didn't scare the 
contestants - oh, and it probably saved a 
few bob on a tight effects budget], who 
looked suspiciously like the Foamasi, 
from the Doctor Who story. The leisure 
Hive! The 'green pot plant' was the 
uncle, who simply felt more 



d on Delgado's orit 
■ appear in logopolis. Castrovatva, 

-i, and you're right... 

0: I recently rented the film Labyrinth 
because a fellow Cat-fan told me Danny 
John-Jules was in it. I saw a load of 

muppets, but no Danny! What 
happened? Cutting room floor time? 
A Not in the slightest - he's there, but 
he's only heard and not teen. Look for 
the sequence where Jennifer Connelly 
gets lost in the woods and is confronted 
by the creatures with the flame- 
coloured fur. Listen carefully, and you'll 
hear a familiar voice singing In the 
production number that follows. 

My mum insists that there was a 
programme on in the 6ffs where 
everyone lived in rooms like a 
honeycomb, and their lives centred 

they all go mad. I've 

never heard of it. 

any ideas? 

(John Bentley. 


A: Yes, indeedyl 

Your mum's not 

ti'/r T J fl 

going mad. she's just 
remembering one of 
the creepiest pieces 
of TV sci-fi during 
the 1960's. It was 

Pfc^V M 

called The Machine 

Stops, and was 

L^L>L "" - ^M H 

based upon a short 
Story by E.M. Forster 
(yes, himl The guy 
who wrote Howard's 
End). It was shown 
in October 1966. 

Time-Flight The King's Oemon, The Five 

following year. '1 

vonne Mitchell played 

Doctors. Planet of Fire (with a cameo 

a mother desperately trying to 

appearance in the subsequent story. The 

Caves ofAndrozani). The Mark of the 

Rani, Trial of a Time-Lord and. finally. 

>th of them part of a society that 

the last Doctor Who story to date. 

nderground. It was a very 

Edwardian outlook on the future, but 

gripping nonetheless It was part of the 

0: Please could you settle something 

Out Of The Unknown anthlogy series. 

that has been bugging me for ages? 

> episode still exists in the BBC 

There was a programme on TV ages 

lults, so who knows... there's a 

ago. that was sort of like The Crystal 


it might be shown again one 

Maze in space. The contestant! had to 

solve problems to get to an area known 

as the 'Vortex'. The one other thing 1 

can remember is that there was a green 

pot plant that grunted a lot who was 


Mefantasy questions can at last 

the King of the planet, and that 

be answered by: 

someone had to translate what he said. 

Helplllll (Debbie Milne, Aberdeen) 

The Remarkable 
Red Dwarf Data Bank 

"■ Fearnotl And calm yourself. 

Fleetway Editions 

15-31 Tavistock Place 

plaguing your memory ran on BBC2 for 


i WCtH 9SU 


The Official Red Dwarf Fan Club 
organised this year's gathering of a 
couple of hundred fans at a hotel in 
Manchester back in July. The convention 
started off with the only major disaster of 
the weekend - the hired out video 
equipment packed up. Despite the gallant 
efforts of the organisers, it wasn't until 
late on Saturday that someone arrived to 
fix it. 

Fortunately, all was not lost - the main 
hall was packed on Friday night for a 
slide-show teaser of Red Dwarf VI 
presented by the Smegazine's Jane Killick 
(I'm told I was very good!) and for those 
who wanted to stay up until the wee small 
hours, the silly improvisation game Whose 
Dwarf is it Anyway? kept people 

However, all this paled into 
insignificance on Saturday with the arrival 
of Norman Lovett. The man who was the 
face of Red Dwarf's computer Holly 
for two years arrived on the 
convention stage and announced 
"I went to buy some light bulbs 
this morning..." These words were 
not the first sign of madness, but 
the opening of his stand-up 
comedy routine. His peculiar 
brand of observation humour left 
the audience in stitches. He was 
then bombarded with questions 
from the floor, mostly about his 
TV show / /.overt, which everyone 
was sad to hear won't be getting a 
second series. 

Norman was genuinely 
surprised that his version of Holly 
was so fondly remembered by Red 
Dwarf fans. He thought that he 
might be asked to sign three or 
feur autographs over the 
in fact the 
i queue Stretched 
r than the length of the hall. 
Ths fja about left time for Joe 
Mazzaro (writer of the upcoming 
Mating of Red Dwarf VI book) to 
whet everyone's appetite for the 
new series even further with more 
slides and even video snippets. 

The evening's entertainment 
was provided by a masquerade 
and disco. There were quite a few 
fancy dress entrants, from the 
easy-to-assembie 'Night 

Watchman' Holly, made from an old 
Monster Munch cardboard box, scarf 
and flat cap, to the Talkie Toaster 
which was an achievement in 
construction. It was great to see so 
many people enter the spirit of the 
competition and just dress up just for 
the hell of it. The funniest entrant 
was Camille, who had covered herself 

sheet to become the 
Hector Blob. She not only couldn't 
walk in the costume, see couldn't see 
either, and had to be guided by 
directions shouted out from the 
audience! The eventual winner was 
the giant Talkie Toaster, hotly 
pursued by two runners-up: Rim 
who embodied his series 2 character 
exactly and the hilarious Hector Blob. 

More guests arrived on Sunday. 
Writers and Creators of Red Dwarf, 
Rob Grant and Doug Naylor, turned 
up in the morning armed with some 
very valuable video tapes. The first 
of these was fled Dwarf - The Smeg- 
ups, some out-takes especially put 
together for the event. This was 
worth the entrance fee alone and 
included everything from 'what not 
to do with a chicken' to 'how to 
entertain an audience by forgetting 

your lines'. Then, 
after two days of 
teasers and 
discussions about 
Red Dwarf VI, Rob 
and Doug allowed 
the assembled 
masses to see a 
preview of their 
favourite episode, 
Gunmen of the 
Apocalypse. The 
atmosphere was 

After facing a 
long queue of 
hunters, Rob and 
Doug disappeared 
to be interviewed 
at great length by 
various magazine, 
newspaper and 
radio people. It's a 
shame that having 

made the journey to Manchester, they 
faced hours of interviewing and weren't 
able to stay around and enjoy the 
convention for longer. Rob Grant 
probably would have Stayed longer if it 
hadn't been for Doug Naylor jumping up 
and down in the foyer insisting they were 
going to miss the train if they stayed one 
second longer! 

By this time, all eyes were on Danny 
John-Jules who had arrived the previous 
night, after braving a four hundred mile 
car journey from Somerset, where he was 

floor by fanning a TV 
Quick behind it. 
Norman won the 
contest, leaving 
Danny whacking the 
floor with his TV 
Quick and getting 

The three day 
event was rounded 
off with the Red 
Dwarf auction in 
which everything 
from photographs to 
genuine Red Dwarf 
props were sold off 
for the convention 
charity, Amnesty 
International. A 




in the middle of recording Maid Marian. 
After a good night's kip, he took the 
stand to answer questions about playing a 
cat for six years, before wading through 
the obligatory autograph queue. 

Later, in the hotel foyer, Danny was re- 
united with Norman Lovett, whom he 
hadn't seen since making the second series 

of Red Dwarf. Norman immediately 
produced a microphone and recorded the 
moment for posterity, and for the Radio 5 
programme he was compiling about the 
convention. After the interview, they 
were dragged off to play 'I'm gonna beat 
you little fishy', a game in which two 
people race a paper fish along the hotel 

legitimate Kryten mask raised £185 after 
Danny John-Jules demonstrated what it 
was for by putting it on his head! Almost 
as expensive was the genuine Mr Nibble 
puppet as used in Quarantine which went 
for £180. A determined collector also 
snapped up a prop from Red Dwarf Vl's 
Gunmen of the Apocalypse - a 'Wanted' 
poster signed by the cast fetched £160. 
Danny added to the entertainment of the 
event by playing the demo of his excellent 
new record. Tongue Tied. He then 
auctioned off the tape for £60. 

All in all, it was a great weekend, 
better organised than last year and just as 
fun. The guests made the event extra 
special and were more than willing to 
take part, but the real stars of the 
weekend were the fans without whom 
the hotel would have seemed a little 
empty. The chance to meet people with 
similar interests is one of the best things 
about conventions, and Dimension Jump 
'93 was no exception. The hotel staff 
were also friendly and the prices were 
reasonable. I had a fantastic time, they 
can book me up for next year. 



Norman Lovett takes a sideways look 
at the Red Dwarf fan phenomenon... 

For visitors to Dimension Jump '93, one of 
the more unusual sights was that of former 
Red Dwarf computer Holly, alias comedian 
Norman Lovett, lurking around the hotel's 
reception area with a tape recorder and 
microphone. Five years after his departure 
from the cult sci-fi show, Norman has 
found an unusual way of returning to it by 
putting together a radio show spotlighting 
fans of the series. 

"It's just something I decided to do," he 
says, casually. "I did an interview on Radio 
Scotland one morning and I just found I'm 
a natural at doing radio; I'm able to talk 
and I'm not nervous about it. So I rang up 
Robert Noakes - who used to be Rab 
Noakes, the folk singer - and asked him if I 
could meet up with him and do a radio 
show. He was interested, so he sent Alan 
along - he's a young producer - and I got 
on really well with him, we like the same 
sort of comedy and stuff. I had some ideas 
for doing a show and he liked the idea of 
this one... I want to look at things that are 
a bit odd. I was going to do the Royal 
Highland Show and there was a sheep 
counting competition somewhere, but I 
missed that." 

Meeting the fans of Red Dwarf was a 
novel experience for Norman - Dimension 
Jump '93 was his first convention of any 

kind. "The only fans I've met before are 
just the ones that come up to you, so I 
thought 'let's go and have a look at them 
all'!" The experience hasn't offered up any 
surprises, though. "They're what I 
expected really," he laughs. "Some that 
look like Lister - well, a lot that look like 
Lister - who obviously don't wear pyjamas 
and fold them up and make their beds in 
the morning I" 

Despite his irreverent approach, Norman 
isn't out to offend anyone. "Red Dwarf 
people will like this," he assures us, "but I 
want to appeal to those who think these 
people are nutcases and fanatics, as well! 
So I've had a bit of fun, but I haven't sent it 
up. I mean, I'm cheeky in my own way, but 
I hate it when someone is really sarcastic 
and nasty about people. I have made jokes 
like 'do you think a lot of Red Dwarf fans 

"Do you think a lot of Red Dwarf fans are from sad 
homes and have been beaten as children?" 

are from sad homes and have been beaten 
as children?', but it's all light-hearted. I 
mean, the same applies to me as a 

Suddenly remembering that his words 
are being recorded, Norman starts guiltily 
and asks: "What did I say? I haven't put 
anyone down have I?" Assured that he 
hasn't, and that all his nasty comments 
about /censored} will be edited out 
anyway, Norman begins to relax again. "I 
love these things!" he enthuses, looking 
down at his own equipment - no giggles at 
the back, please, he's talking about a 
broadcast standard tape recorder supplied 
by Radio 5, the station he is putting his Red 
Dwarf item together for. 

"I've filled up half a tape now," he 
notes and, having worked out the time 
remaining to him, he adds worriedly, 
"Danny's going to need more than that, 
isn't he?" Norman has spent the day 
talking to various fans of the series, as 
well as fellow convention guests Rob 
Grant and Doug Naylor, Red Dwarf's 
creators. Still on his hit list is Danny John- 
Jules. "The way I'm going, I'm going to 
go over half an hour. I think a lot of it's 
okay, but I think Alan's going to edit it. 
I'm leaving it to him, I'm not even taking 

The show will be broadcast on Radio S, 
as a one-off episode in an ongoing series. 
"Earshot it's called, it's on on Tuesday 
nights at ten past ten, and I've never 
heard it," Norman admits, but he 
doesn't see this as a problem. "Well, to 
me it doesn't matter - I'm only going to 
do it my way and that's it! No matter 
what the programme, I can't shape 
myself to talk like a presenter's supposed 
to talk or whatever, because I want to be 
myself." Norman isn't sure when the 
programme is likely to go out, but with 
publishing deadlines being a lot longer 
than their radio equivalents, it could well 
be on before this issue hits the shops. 
Still, we can always hope for a repeat! 



Byte One: THE END 


(BBC Video -£10.99 each) 

Well now, that didn't take too long, did it?! BBC 
Enterprises finally caught up to one of their many 
varying release dates, and much to the surprise of those 
who thought it would never happen, the first series or 
Red Dwarf hit the shelves on two tapes, during July and 

So, was it worth the long wait? Well, opinions may 

disappointing, but with the ridiculously small selection 
of photographs available from any that were taken 
during those hallowed days of 1988, it is 
perhaps excusable 

opt for artwork sleeves instead, It does make 
"" leoutof synch with 
rs though, and you can't help 
wondering how the hologramatic Rimmer 
managed to tie that rope around his waist 

But what, you ask. about the episodes 
themselves? Well. BBC Video are making much 
ado about the fact that T?ie End has never been 
repeated or released before - and so they 
should, too. For many fans, this is a delightful 
opportunity at last 

series. It's quite a strange experience to watch 
Lister and Rimmer. during the first half of the 
episode, as they go about their normal, everyday 
lives, blissfully unaware of that impending 
radiation leak. Very soon, of course, the scene is 
set for the mayhem to follow - although you'll sti 
be watching a very different progr 
Dwarf V. Special effects are minimal; outside 
threats to the ship number zero: and 
characterisation is the name of the game - 
characterisation, for that matter, between Lister 
and Rimmer alone. Cat has little to do. as does 

Norman Invert's original Holly - and Kryten is still a 
gleam In Professor Mamet's eye. 

Even so. the series offers several little glimpses of 
what is to come - quite literally, in fact, in the second 
episode Future Echoes The images of the future seen 
therein lay down continuity threads that stretch as far 
as 'Parallel Universe', ten episodes later. We also get to 
see Lister's twin sons, Jim and fleiley. for the first and 
only time, so who could say fairer than that? 

It's been stated in this very magaiine that Future 
Echoes is "undeniably the best of the first six episodes', 
but this is a statement with which I would take issue. 
Balance of Power is the first of three stories which I 
consider to be bi 

Warsaw spontan* 

is Rob Grant and Doug Naylor's 
IV bosses who wanted more sit-com, leu 
vorksl lister and Rimmer's hate- 
iter is never stronger - or funnier - than in 
this very character-based tale, and a rare glimpse of C. P. 
Grogan's Kochanskl can't be bad either. And the 
ending will surprise you - although ail is revealed at the 
start of the following episode. Waiting for God. 

This is the first episode on 'Byte Two' and a far more 
serious show, yet it has its light side as well, particularly 
Rimmer's hopeless search for the alien Quagaars. Cat 
lovers will appreciate this one; it's perhaps the best 
spotlight our favourite feline has ever had... and we get 
to see another Cat person, a blind priest played by Noel 
Coleman. The secrets of the Cat Race are laid bare 
here, and fascinating they are too I 
Then it's all change again for Confidence and 
'aranoia'. boasting a weird and wacky sci-fi script 
hat wouldn't have seemed out of place in series 3 or 
L The title characters, portrayed by Craig Ferguson 
nd Lee Comes, are actually solid hallucinations, 

" on-affected mind. When rt 
room and the mayor of 
imbusts, even Rimmer is able 

hlng Is amiss, 
finally, the episode which gets my vote for best 
series... Me 2 rounds off what BBC Video are 
illing Red Dwarf 1 in excellent style. Just when 
ister thinks that the hologramatic Kochanski is his, he 
nds up with a second Rimmer instead - but can Arnold 
really be so obnoxious that he can't even stand 
imself? Probably! 
All in all then, these two tapes provide a fascinating, 
lamn funny journey through the early 
ivesof the Red Dwarf crew. It seems quite fashionable 
the first series at the moment - but behind 
the low budgets and the drab sets, there's a great deal 
of sheer quality writing and acting. Highly 



•31 H 

MKerA&fn,- '<^>SO 


■••v. r>7j^ I 






. Tj 


\, JiLt 









*C**«!I»V 7f*i «W •* 

V L/sre&s log>! 





If the old axiom is true, and cats really 
do land on their feet, then Terry Farrell 
landed very well indeed. Only a few 
months after playing the Cat in the 
now defunct American Red Dwarf 'pilot- 
promo', Terry was cast as one of the leads 
in the new Star Trek spin off, Deep Space 
Nine, a show that has recently hit British 
TV screens for the first time, albeit ones 
hooked up to a satellite dish or a cable 

Terry plays Jadzia Oax, part of an alien 
race called the Trill who has been 
assigned to space station Deep Space 
Nine as the Federation Science Officer. 
The Trill are a conjoined species, 
consisting of a humanoid host and a 
wormlike symbiont that lives inside the 
host, making Dax as non-human as the 
Cat. despite Terry's humanoid 
appearance in both roles. While the Star 
Trek universe is considerably different to 
the weird and wacky worlds of Red 
Dwarf, the actress is still delighted with 
her new assignment on the 'final 

Terry Farrell's latest SF adventure came 
about in an extremely roundabout 

fashion. The original Red Dwarf USA 
pilot was filmed with actors Craig Bierko 
as Lister, Chris Eigeman as Rimmer, Tony- 
award winning stage actor Hinton Battle 
playing the Cat, British actress Janes 
Leeves in the role of Holly, and Robert 
Llewellyn reprising his already familiar 
portrayal of Kryten, but the NBC 
executives demanded a few changes. 
Rob Grant and Doug Naylor were 
brought in as Executive Producers and 
commissioned to shoot a 1 S-minute 
promotional reel as a teaser for the new 
show. Responding to network pressures, 
Rob and Doug re-cast Anthony Fusco as 
the new Rimmer, and Terry - who had 
just finished filming Hellraiser 111 - as the 
now-female Cat. 

"I just did the promotional spot, 
because they had to replace the guy who 
played Cat in the pilot," she recalls. "It 
took place very fast; we didn't even have 
time to run lines or rehearse. It was just 
that suddenly we were there. It would 
have been nice if we had more time to 
rehearse." Terry also had little to check 
out her feline counterpart from the 
British version of Red Dwarf. "I never 

really saw it," she admits, "but they used 
parts of it in the promo. I had seen clips 
of [Danny), but that was all." 

Ultimately. NBC canned the Red Dwarf 
pilot, but it wasn't long before Terry 
moved on to Deep Space Nine. 
Paramount were already in the process of 
casting for their new Star Trek series and, 
after auditioning what appeared to be 
half the actresses in Hollywood, they 
finally chose Terry for the role of Jadzia 
Dax. As one of the series' resident aliens, 
one of the most demanding aspects of 
the part is the complex make-up that has 
to be applied every morning. After 
numerous tests, the producers and make- 
up designer Michael Westmore decided 
on a complicated design of tiny spots 
running down the sides of her head and 
neck. Each spot is individually painted by 
Westmore and his team every morning - a 
process which has thankfully become 
shorter over time. 

"It used to take almost three hours, 
because they didn't know the spots as 
well," Terry explains. "In the Deep Space 
Nine pilot, they were still trying to get 
them right and I had to go to Rick 
Berman [the Executive Producer] to make 
sure they were okay. He would say 'less 
here' or 'one more over here, make them 
a little bigger on this side.' 

"Now the spots take about 15 minutes, 
the rest of my make-up takes 20 minutes, 
and my hair - which takes the longest - is 
45 minutes. I have less time in make-up 
than I do in hair! Isn't that amazing?" 

Having signed a long-term contract 
with Deep Space Nine, Terry Farrell will 
be exploring the far reaches of the 
universe for many years to come. As for 
her brief involvement with Red Dwarf, 
the actress expresses no regrets. "I never 
actually saw the pilot," she confesses, 
"but I've heard the English production 
values were so much better. It's hard to 
compare us shooting at the last minute to 
a show that's been on for five or six 




Please send me kit/kits of Kryten together with free groinal vacuum attachment at a cost of £37.95 

each which already includes postage and packaging. If you do not wish to deface magazine, please write 
out clearly the details below: 


I enclose cheque/PO's to value £ 



Chris Howarth and 
Steve Lyons speak 
to the man behind 
Red Dwarf's 
leading lights... 

The BBC North Studios on Manchester's 
Oxford Road were home to the series 
during its first three years. Not 
surprisingly, then, many of the technicians who 
worked on those early shows were Manchester 
based. One such person was lighting director 
John Pomphrey, who also happens to be one of 
the few behind-the-scenes people to hold the 
distinction of having worked on every episode of 
the programme since its inception. 

"There were three lighting directors in 
Manchester at the time and it came up as a 
name - Red Dwarf - nobody knew what it was," 
says John, recalling how he first found himself 
working on the series. "It was a lot luck really, 
the other two lighting directors had other jobs 
at the time, and the guy in charge said to me 'do 
you want to do it?' I knew absolutely nothing 
about it, but it was work so I said 'yeah, fine'. I 
went to London to meet the whole team - Rob 
and Doug, and Paul Jackson who was involved at 

the outset.'' John already knew Paul Jackson, as 
the two of them had worked together before on 
the follow-up series to The Young Ones, Filthy 
Rich & Catflap. 

The job of lighting director is one which 
involves interaction with other members of the 

got an image in their minds which they want tc 
see. Myself and the designer have got to put 
that image on screen, but we've got to put it ir 
such a way that the artists can work within it 
and the viewers can see the artists deliver the 
lines and do the gags. In my case, I also have tc 

production crew responsible for the visual feel of fulfill the technical requi 

"The business of lighting is the 

relationship between the camera, 

the performer and the lamp." 

a programme. "It's working with the designer, 
creating the environment and making it look 
right," John explains. "It's interpreting what 
Rob and Doug want; when they write it they've 

chats My with tht Blob on th* set of Cwnllle. 

In other words, he has to make sure the camer.- 
can see what's going on! 

Clutching a copy of the script for the series 6 
episode, Legion, John is happy to use it to 
illustrate his approach to his job. "I look for any 
problems [in the script] for a start. They [Grant 
and Naylor] write copious notes, they're very 
helpful." Turning the pages, he spots an 
example. "Here - 'Red electronic comet-like 
streak hurtling through space' - that tells you 
exactly what is needed. The cabin is flooded 
with red on impact...' I've got to look at that - 
I've written 'Visual Effects?' down there - and 
see if that's to be done by me flooding it with 
red light, or done post-production 
electronically." The decision is made after a 
consultation with special effects designer Peter 
Wragg. "It's cost effectiveness and ease - if you 
just want a low priced one, it's easier for me to 
do it, but we do work together. 

"One year, they changed into animals and 
things [DNA] and I provided a lamp on cue. A 
big shaft of light came down and the guy 
changed into a hamster or something. In post- 
production they helped it by colouring it and 
doing some stuff round the edges. Sometimes 
it's easier to do in post-production - it's actually 
cheaper and quicker and as good an effect by 
doing it on the mixer electronically. And 
sometimes I just physically can't do it if we 
haven't got the space to get the lamp far 
enough back to get the effect we want." 

Reading further into the script, John sees 
another of his own notes. "Here there's some 
business going on in the galley... '1+1 
downstage' I've told myself - that's a head-to- 
head discussion downstage of the set - and I've 


instantly tried to guess how I will 
light it." He finds another example: 
"I know this shot is going to be quite 
a tong shot looking at the cockpit 
door. Looking through it I can guess 
where the camera's going to be, so I 
make sure the lights are in a suitable 
position so that you can see the faces 
and the people." 

After reading a script and looking 
for any problems and pitfalls 
contained therein, John has the 
opportunity to discuss them at a 
planning meeting. "Sometimes it's 
as simple as 'is it day or is it night?' 
It's generally on the script, but 
sometimes you get instructions that 
they've landed on a planet or 
whatever ■ how do they want it 
shot? Is it daytime or night time?" 

At these meetings, John gets as 
much information as possible 
relating not only to the look of the 
show but also to other factors, 
including the amount of time he has 
available. Then, upon his return to 
Manchester, he works closely with 
designer Mel Bibby, whose set 
drawings enable him to make his 
own drawings which are then 
transformed into reality in the form 
of a lighting rig at Shepperton 
5tudios. "I get a blank sheet of 
paper and I work out the logistics. I 
draw various shapes and boxes for 
the scaffolding and I generally end 
up with about six separate 
scaffolding rigs in a box-like structure, which we 
suspend from quarter ton chain hoists in the 
studio. I then draw my lighting plot ■ deciding 
what lights I can put where. The set I can work 
out because I've possibly seen a model and I've 
definitely seen plans, so I know all the 
elevations; I know how I'm going to light the set 
because that won't move, it's physically there. 
What I have to do by reading the script is work 
out where the anion's going to take place, 
because I've got to light the performers. And 
I've also got to guess where the camera's got to 
go. The business of lighting is the relationship 
between the camera, the performer and the 
lamp; it's no good if the camera's out there in 
front looking at you and I light from one side... 
all you'll see is a brightly lit ear and a dark face, 
it's obvious, but you've got to know - I've got to 
guess where the director is going to put his shots 
by looking at the action." 

To give us an idea of where his work really 


■\ floor 1 

rv I'll go away and 
generally do location shooting and two or three 
days later I'll come back and we'll drop my lights 
to a working height and start focusing, setting 
and connecting them up." 

Following John up a set of metal steps we 
enter the gallery from where the lights for any 
Manchester recording are controlled. Facilities 
at Shepperton are not quite so comfortable, as 
there John and Dai Thomas, the console 
operator, must make do with sitting outside in a 

"It's all operated by Dai from a galaxy 
lighting board," says John. "We have monitors 
because it's important we see what the cameras 
see - we don't want to see what the audience 
sees. We'll listen to the director's cues and Dai 
can operate the lamps. During the course of the 
day, we'll rehearse them, adjust the various 
brightnesses and levels and record them in a 
memory, so come transmission we'll finish up 
with 30 or 40 basic memories and the machine 

"The moment you look into the 

lights you're blinded, so when I 

go back into the lighting gallery 

I can't see properly." 

begins, John takes us through to the studio in 
which the first three series of Red Dwarf were 
recorded. The last time we were here the place 
had been transformed into the virtual reality 
world of Cyberzone - another show lit by John - 
but now it stands completely bare. Similar in 
(act to the Shepperton studio when John and his 
team are the first of the Red Dwarf crew to 
descend upon it. 

"I turn up at Stage G and it's completely 
empty, just an empty shed, and then for two 
days I create a scaffolding rig. Then I hang all 
the lights up and we take all that lot up to the 
roof, about twenty feet in the air. Mel [Bibby) 
will then come in and build the set - so he's got a 

will switch off 210 lights here, put on 20 there. 

"Dai's all important because I go into the 
studio setting the lights, and the moment you 
look into the lights you're blinded momentarily, 
so when I go back into the lighting gallery I can't 
see properly. I'd say 'oh the pictures are too 
dark', which they're not. Dai's very important 
because he sits there all the time in the same 
environment - he holds the lighting continuity in 
his brain really." 

For series 6, much of the action is set aboard 
Starbug and John prepared for every 
eventuality. "There is a limitation on cost and 
power; once the rig is up it's difficult to alter. 
I've got to cover all my options, so I tend to put 

extra lamps up just in case - even though you've 
had four scripts in and they all say daytime in the 
galley scripts, five and six might want a night 
time scene in there. Starbug frequently crashes, 
so we're into the flashing red light and alert 
syndrome. I build that in - most areas have the 
capability of creating a crash situation." 

Lighting, John points out. is also important in 
creating an effective environment and this 
applies especially to Starbug: "When they are in 
the cockpit there's a feeling that the two guys at 
the front are lit by the consoles and from outer 
space. So I put a lamp outside with soft blue 
lighting - it's slightly stylised, but I get a lot of 
freedom ■ and I have lights hidden under the 
floor which appear to be coming from the 

Leaving the gallery we climb ever upwards 
until we find oursieves above the lighting 
gantry. It turns out that this area stood in for 
various parts of Red Dwarf itself during the early 
series. Showing us where the famous vending 
machine once stood and where the Cat's mouse 
chasing antics almost damaged some valuable 
equipment, John reveals that the look of the 
place inspired the production team to find 
similar venues to film in, including the local 
Agecroft Power Station and, later on, Sunbury 
Pumphouse, which is near Shepperton. 

Such location work presents a fresh set of 
lighting problems, however: "It's a different 
style of lighting. About a fortnight before we 
start, we recce the locations. I need to know 
where the sun is going to be. Nature can be very 
good, but it can also be very cruel because the 
sun goes in and out. If you're recording over the 
space of three or four hours and it's raining one 
minute and sunny the next, you've got to make 
sure this doesn't show." 

One episode in the new series where this was 
a definite consideration was Gunmen of the 
Apocalypse - shot (no pun intended) at the 
replica Wild West town of Laredo. "It took us all 
day to shoot the scene. I knew where the sun 
would be, it would move down from one end of 
the street to the other. We started at dawn and 
I had to decide how we would cover it 
continuity -wise, because we didn't want 
shadows moving. I worked closely with the 
director and with Rocket the cameraman in this 

case, and when we got into a tricky situation we 
used close-ups. We used shadow so you weren't 
aware that the geography had changed; I would 
put a big lamp in to simulate the sun where it 
had been." 

Interior location work has its pitfalls too. 
"We did a lot of stuff in Bankside Power Station 
near Waterloo. It was meant to be Starbug's 
engine room, and Bankside is enormous, so what 
you have to do then is to hang black drapes and 
cut off visually the 300 yards of power station 

you don't want. I then have to work out the 
logistics: how many lights I need, getting the 
lights in there, where the power is coming from - 
because although it was a power station, the 
one thing it didn't have was power!" 

Fortunately, gaffer electrician Rodney Green 
is on hand to sort these problems out. "He's 
absolutely vital to the set up," John admits. 
"I've got the easy job in this particular situation. 
I walk around and say I want a 4kw lamp here, I 
need 20 power cans there." Rodney and his 

team not only have to arrive at locations hours 
before anyone else and make sure that 
everything is wired up in preparation for the 
day's filming, but they also have to wait until 
everyone else has finished work before they can 
pack up all the equipment again. Sometimes it is 
late 3t night when the crew winds up and in 
many cases the equipment then has to be 
transported to another location and made ready 
for the following day's shooting. 

During location shooting. Red Dwarf VI 
utilized the surroundings of Marco Polo House, 
the sometime headquarters of BSB, and 
presented John with the opportunity to try a 
new technique. "In Legion we wanted a 
completely different style. Red Dwarf has always 
been scruffy, rough and ready, but suddenly 
they were in a very high tech environment. I 
tend to use very hard lighting. I don't use a great 
deal of soft lighting - if people are heavily 
shadowed that's fine, it's part of the 
environment. It gives you mood and creates 
tension, but for the sequence in the hall we 
wanted a very soft feel. 5o, for the first time, I 
bounced light off the ceiling; I kept it very flat, 
very bland, put filters on the camera and 
electronically we adjusted the camera to give it a 
slightly burnt out feel with soft colours - almost 
no colours at all." 

Other locations this series have included a 
quarry, a gravel pit and, from John's point of 
view, a slightly unwelcome return to the site of 
Red Dwarf V's Termrform. "At the back of 
Shepperton there's a swampy area which we 
used last year," he explains, "We were getting 
ready for a night shoot and as we were setting 
up two electricians and myself fell in the water. 
The lamps went in as well and all the scripts 
were soaking wet. It was awful, but it caused a 
lot of hilarity. This year we were shooting in a 
similar place and when the generator turned up 
there was a life jacket on the side especially for 


(Virgin /Doctor Who Books £4.50) 
in many ways. It's* 

any $ood 

.at the company's editi 
eat the line seriously ! 

leir ISO. efforts, 
have begun to 
II, their newfound 

d Power of trie Daleki - the lorn 
due to copyright problems) 
in of Patrick Troughlon's first 

chosen to release it under their 'Donor \ 
■oaks' imprint - actually, perhaps the 

attempt to gel Ihe volume 
pom not wnn its flimsy predecessors on 
■r-* rt df en's shelves, but with the more 
■. . ;-;i 'New Adventures' series in the 
adult seniors. Unfortunately, the increased 
page count which goes hand in hand with 
this notion does little to enhance this story. 
ana I couldn't help thinking that certain 
scenes needed a quick trim. Chief amongst 
twt a the chapter which retells, for no 
•MtfeNBon, the end of the preceding 
the re"fh Waner (already 

future Doctor 

from the writing rather 



SPECIES: Cyborg; that is, half hi 

OCCUPATION: The hard-hitth 

iugh as- nails, smartest and tr. 

rivate dick currently ' 
t's Cybe 

I! But he's pretty tough with those double- 
i darned jaywalkers, you i 
your bottom dollar. 

S: First off, Jake Bullet probably doesn't exist... bu 
t that put you off. We've seen him only as part of I 
weird group hallucination experienced by the Red Dwarf cit 
when they fell foul of a Despair Squid's poisonous ink. The 
Boys from the Dwarf found themselves waking on a 
nightmare fascist world, where they were informed that they 
had just spent four years escaping from reality within T" ' 

ship's android, Kryten, 

i half of his make-up to do so 
..., .wo years of the game that 
didn't feature him is anyone's guess). 

Lost and amnesic. Bullet and his companions began to explore 
Id they had apparently once called home... and they 
. . ..xe what they saw. Furthermore, when c* 

forced Jake into taking a human life - that of a f . 

on gunning down a young girl - Kryten's 

rushing to the fore and the cyborg found 

ble to live with his own actions. Driven to despair 

by the dreadful, pointless truth of his mi; 

was the first of the group to contemplate su 
, it was his hand on the trigger of the gun th 
killed the whole group. 

Fortunately, the Red Dwarf computer. Holly, was able to bring 
her charges 'back to reality', and no permanent harm was 
done. The whole incident was later forgotten as little more 
d nightmare - but somewhere, sometime, in the 
ultidude of para" 

cks, baby! Oh, 
jrse. Hendon, July 2330. 


to wield a notebook and pel 

Doyle, who joined Bullet and t 

- Duane Dibbley, the no-style gimbo I 

could open bottle tops (see Ref Dwarf. RD5 vol 2, issue 2), 

also set out to forget his own pathetic existence in the gan 

GROUP AFFILIATIONS: The Cybernautic Division, obviously - 

'" ■ S: Crack shooter, good with his fists, very ne. 



m & s ti« cop's 



■ SCBIPt; Stent HOBlf ••• mi: hltRllr ••• LfllEHS: lUnadlou PHOEHIH • 

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u/ith Adrian Rif rltford 


The eagerly awaited seventh and 
final season of Star Trek: The Next 
Generation is now well underway, 
with filming completed on the first 
five episodes of the 26 due to be 
made. The anticipation in America 
is extraordinary, with the plot of 
the conclusion to Season Six's 
cliffhanger, Descent Part 2, making 
headlines in the notorious 
'National Enquirer' when an early 
draft of the script was leaked by 
someone working at Paramount's 
TV division. Suffice to say, the 
details revealed bear little 
resemblance to the finished 

Descent Part 2 is followed by 
Liaisons, an episode which has also 
been known as The Journey, The 
Voyage and Meetings. Episode 
three is Interface, which features 
an appearance by the parents of 
Geordi LaForge, the visually 
impaired head of engineering. 
After that, the first of three 
anticipated two-part stories for 
Season Seven arrives, going under 
the working title of Gambit Parts 1 

The first of two Q stories, 
featuring John De Lancie's ever- 
popular omnipresent villain, is 
due to be shot as episode ten, 
while rumours abound that the 
finale for the season - and the 
entire series - will be an epic three- 
part story that will lead directly 
into the new feature film. Star 
Trek VII - The Next Generation, 
with return appearances by a 
certain Vulcan and a certain 
engineer from Scotland! 
Paramount are planning to 
continue their ever- profitable Star 
Trek franchise beyond The Next 
Generation and even Deep Space 
Nine by introducing a fourth 
series. The current plan is to 
develop the new show with 
several characters carried over 
from The Next Generation and to 
have a pilot episode ready for 
Christmas 1994/New Year 1995, 
when the new movie is due to be 
released theatrically. Publicity- 
wise, there could be no better 
time to launch a new series and, 
after about a year, the plan is for 
the show to run alongside DS9, 
just as that series currently does 
with The Next Generation. 
Conflicting rumours as to the 
content of the new series are 
running riot, with theories as 
diverse as it being centred around 
the exploits of the cadets at 
Starf leet Academy to Captain Sulu 
returning from the original show 

and leading a starship with 
members of TNG's crew through 
the wormhole, as featured in DS9, 
to explore the uncharted Gamma 
Quadrant that lies beyond. 
Things are so tentative at the 
moment, with planning al such an 
early stage, that it's not even 
100% certain that the series will 
be ready for next year. The most 
wacky suggestion to date has to 
be that the whole programme 
could be computer generated, 
enabling the original crew of Kirk 
and Co. to return just as they were 
in the 1960s! 


With the planned 96-minute 30th 
Anniversary Doctor Who special 
postponed for the time being, it 
looked as though there would be 
nothing ready to mark the 
occasion in November - until the 
Children In Need production team 
stepped in. The annual fund- 
raising show used the 20th 
anniversary story, The Five Doctors, 
as the epi-centre of its evening of 
entertainment ten years ago and, 
if all goes according to plan, 
they're about to do it again, but 
not on such a grand scale. 
Former Doctor Who Producer, 
John Nathan-Turner, has returned 
to the programme to oversee two 
seven-minute episodes, one of 
which will be shown during 
Children In Need, while the second 
will go out during Noel Edmond's 
House Party the following 
evening. With filming due to take 
place mid-September, the whole 
set up promises appearances by 
old Doctors and companions, with 
even the odd monster and villain 
as well. Most intriguing of all is 
the fact that it will be shot on the 
Eastenders back-lot and several of 
the soap's cast are due to appear. 
It would seem likely that tongues 
are being well and truly planted in 
cheeks here! 


The cast and crew of Star Trek: 
Deep Space Nine are back in 
action, with an epic opening story 
already in the can to kick-off the 
programme's second season in 
style. The three-part saga has the 
Cardassians - original owners of 
the space station OS9 - trying to 
regain what they claim is rightfully 
theirs, even if the entire crew of 
the place have to die in the 

Other stories lined up include 
several appearances by Q after his 
initial outing on DS9 in Season 
One's Q-Less, and a tale in which 

the station's Ferengi barkeeper. 
Quark, accidentally unleashes a 
miniature universe on board DS9, 
which starts to grow and expand 
with potentially lethal 
consequences. Other characters 
mooted for a return are Opaka, 
Bajora's spiritual leader who 
appeared in the pilot Emissary and 
Battlelines, and Mullibok, a 
Bajoran farmer who was played to 
great effect by veteran character 
actor Brian Keith in Progress. 
As with The Next Generation, the 
rumour mongers are having a field 
day with the story that Avery 
Brooks's role as Commander Sisco 
will only last until episode six of 
the second season, with the 
character possibly being killed off. 
Paramount sources are strongly 
denying this, with several cast 
members backing them up by 
saying Sisco's here to stay - but 
then again, they said that about 
Denise Crosby's Tasha Yar 
character during the first year of 
The Next Generation... and look 
what happened to her! 

The second series of The Borrowers 
finished filming at Pinewood 
Studios at the beginning of 
August, with a tentative plan to 
screen it on BBC1 every Sunday 
afternoon in the run-up to 
Christmas. Ian Holm and Penelope 
Wilton lead the cast as before... 
There is a possibility that the BBC 
might be planning to turn Horror 
maestro Clive Barker's fantasy epic 
Weaveworld into a television 
series, using the same principles 
for the special effects as The 
Borrowers, since Barker's story is 
about a race who literally live in a 
carpet. Animation might be used 
to to realise some of the more 
el a bor a te f a ntasy cha racte rs . . . 
After a run of of two-hour films 
over the past couple of years, six 

one-hour episodes featuring 
Jeremy Brett and Edward 
Hardwick as Sherlock Holmes and 
Doctor Watson are currently in 
production, set for transmission in 
the New Year under the title of 
The Memoirs of Sherlock Holmes... 
Following the success of last year's 
revival of The Tomorrow People, a 
second series is due to go into 
production shortly. With the first 
series consisting of just one five- 
part story, there are plans to make 
two this time, bumping up the 
episode count to ten, 


The second special limited edition 
Doctor Who video set is released in 
October, with all 14 episodes of 
the Sixth Doctor's epic final 
adventure. The Trial of a Time 
Lord, crammed into a Tardis tin. 
Stars appearing alongside Colin 
Baker include Brian Blessed, 
Michael Jaystofi, Honor Blackman, 
Geoffrey Hughes and Joan Sims, as 
the Doctor is torn from the time 
continuum by the Time Lords and 
tried for his crimes against the 
galaxy. Three stories, intercut with 
the trial as it progresses, make up 
the evidence as three four-parters 
- The Mysterious Planet, Mindwarp 
and Terror of the Vernoids - while 
the final two episodes, known as 
The Ultimate Fore, bring the saga 
to its dramatic conclusion. 
We have two of these box sets to 
give away to people who can 
name the actor who played the 
Doctor in the two Dalek movies 
made in the 1960s. Easy enough? 
Answers on a postcard (or a sealed 
envelope) to the usual Smegazine 
address - and don't forget to write 
the front, before you send in your 



The absolutely true, but entirely unbelievable 

tale of Mr Flibble's early years begins next issue. 

At last you can read about the boyhood of the 

well-wickedest penguin ever - and we're not 

talking chocolate biscuits here! 

and )e" ny "L. roles » Reu 
\ vNarf v( :^ neW/ series 

P , " 0r et °" the i Pe I 

\ma\or senes „^ij 

/f 's on sa/e October 28th - order your copy now! 

1994 FOR FREE! 

Thrill-packed 1994 POSTER 
CALENDAR free with Issue 38 of 

Features a moody Mean Machine 

painting by Chris Halls and 

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